International projectionist (Jan-Dec 1953)

Film Splicing for 3-D and CinemaScope by JAMES MORRIS MAKING a good splice always has been an extremely important part of the projectionist's job, doubly important now because of the advent of CinemaScope and the resurrection of 3-D. A. bad splice in either 3-D or CinemaScope can not only cause a stop but it can do a beautiful job of lousing up the show even without a stop. Contributing to splicing difficulties is the use of acetate, or safety, film which is more difficult to handle in a splicer than was the now out-moded nitrate film. Today, according to film manufacturers, nitrate film constitutes but a fraction of all prints exhibited in American theatres. Some place this fraction as low as one percent. Importation of nitrate film is permitted and art houses sometimes receive such prints from Europe. Too, revivals of old pictures sometimes puts nitrate prints into theatres. Film libraries, with their stocks of old pictures, still rent nitrate prints both in 35-mm and in 16-mm. Most of the films in the famous library of the Museum of Modern Art in New York are nitrate, although the museum has plans for new prints of these old pictures using acetate. Difficult to Splice However, despite the fact that triacetate film has eliminated the possibly lethal consequences of a bad splice, the projectionist's worries, so far as splicing is concerned, are by no means ended. The new processes have brought new problems. Triacetate, or so-called safety film, has a number of advantages that stem from the fact that it is more stable chemically than a nitrate base. The most important advantage is its flameresistant quality. It burns slowly and without dangerous fumes. Also, because it is more stable than nitrate, it has less tendency to shrink out of size. But this chemical stability has one important disadvantage from the projectionist's point of view. Triacetate base, or acetate, as it is usually referred to, is harder to splice. Its very stability slows down the disolving action of the solvent cement and makes necessary greater care if the best results are to be obtained. No Real Difficulties The latest problem concerns splicing the new CinemaScope film with its four magnetic sound tracks and narrower sprocket holes. The magnetic tracks are on the opposite side of the film from the emulsion. Another persistant and annoying problem concerns making a splice on one or both of the two film strips required for 3-D projection. This article is intended to review the whole process of splicing with special mention of CinemaScope and 3-D film. Provided he has the proper equipment, splicing of CinemaScope film will present no difficulties to the projectionist. A splicer such as the recently marketed Neuscope model is The two drawings shown above illustrate the different sprocket-hole proportions of CinemaScope and standard film. The CinemaScope sprscket holes, shown in the sketch at the right are set between the magnetic tracks, and do not line up exactly with standard sprocket holes. Also the magnetic tracks on CinemaScope film are on the base side rather than the emulsion side of the film. This creates problems in splicing which are explained in the accompanying article. especially designed for the job. It is constructed so that both the emulsion side of the film and the base side, to which the magnetic tracks adhere, can both be scraped clean while the two ends to be joined are clamped in the jaws of the splicer. The register pins of the Neuscope are smaller and set in a slightly different position to conform to CinemaScope specifications. The standard 35-mm sprocket perforation is 0.11" as against the narrower 0.078" perforation for CinemaScope. If a standard splicer is converted for use with CinemaScope film, it is first necessary to file the pins until they are narrow enough and in the correct position to be received by the CinemaScope sprocket holes. This is the way the problem was handled by some Fox exchanges on the first prints to be processed. This is not an entirely satisfactory method because if the pins are filed to CinemaScope tolerance, there will be a loose fit and lateral shifting if these pins are later used to register the sprocket holes of standard film. Using a converted standard splicer for CinemaScope film presents another problem. After the edges of the film have been trimmed for the splice, it h then necessary to remove the film from the jaws, taking the end from which the magnetic tracks are to be scraped from the right jaw and placing it in the left where the tracks can be scraped from the splice area. Then the two ends are returned to their original position and the splice is completed. Procedure Is Clumsy This procedure has the disadvantage of being clumsy in addition to the fact that a better splice is likely to result if the film is kept locked in one position throughout the operation. There is much to be said for a special splicer for CinemaScope film such as the Neuscope model, manufactured by Griswold and distributed nationally by the Neumade Products Corp. The problem of removing the film from the jaws in the middle of the operation is solved by redesigning the right-hand INTERNATIONAL PROJECTIONIST DECEMBER 1953 11